Gasalla’s work capacity were placed first on TV, cinema, and then in Maipo, with Expansion to Corrientes and Mar del Plata Street.
It usually happens that an artist feels with pain in old age that the public has already forgotten. More rarely, and this is what happened with Antonio Gasalla, it is the public who feels, with pain, that the artist himself forgot about himself, his characters, of the applause, of the nights of glory and the madness in the dressing rooms, of everything, or almost everything. Perhaps he remembered, as in a nebula, his childhood in Ramos Mejía, his adolescence at the National School of Dramatic Art, and that Uruguayan little girl so similar to the one who went to visit him in old age, took him from his hands, and tearfully talled looking in his eyes.
Antonio Gasalla He began at 23 as a secondary actor. Bajito, with aggressive nose and Saltones, it was not going to be a gallant. But at 25, in the pair with their fellow studies and mischief Carlos Perciavalle, Edda Díaz and Nora BlayI was going to start something new in these pampas, Café Concert. The work was called “Help Valentino”, it was successful in Regina, already the end of the ’60s led to the emergence of the pregnant hen and the lame rooster, creations of other artists, and of the then young Fatalano Lino producer.
The two friends then did “stop stories and thing let’s see “Clinic with music” and “a crazy trip”, but the figure and work capacity of Gasalla They were placed first, and then in El Maipo, with expansion to Corrientes and Mar del Plata street. From “Gasalla for export”, In 1973, with a libretto of Enrique Pintihis name was going to appear almost always in the titles, such as “Gasalla 77”, “Down Gasalla”, “Idolos and Gasalla linros ”,“ National Gasalla ”, etc., until its farewell in 2020 in Mar del Plata. There were exceptions, including“ Endorphine Monologues ”,“ Destiny of Glory ”,“ Cristina in the country of Wonderland ”or “More respect that I am your mother.” And there were always successful reunions with Perciavalle, in stages of Punta del Este and Corrientes Street.
Already by then, the capocomic (because it was really a capocomic), had participated in a dozen films, of which “the truce”, of Sergio Renánwith a shy employee character who bursts, “Waiting for the float”, of Alejandro Doria, Like Mom Cora, with Alex Matthews mask, and his only leading film, “two brothers”, of Daniel Burmanwith Graciela Borgesan exceptional work.
The old Mom Cora opened the doors of television, and there also reigned, first appearing as the grandmother in “Badía y Compañía”, then in her own programs “The world of Antonio Gasalla”, “The palace of laughter” (times in which ATC was still able to compete) and others, in other channels, with about thirty grotesque characters of well Argentine Soledad Dolores Solari, the Ricachona Inesita, devout of aesthetic surgeries, the bárbara presenter Don`t Worry, the lawyer Gutman, the fat, the translator, etc., that popularized gestures and phrases such as “Back, back!” And “What problem, right?”
Matthews masks and castmates (Norma Pons, Roberto Carnaghi, Verónica Llinás, Clotilde Borella, Atilio Veronelli) contributed to success. But it was again the character of a grandmother, the one who had more continuity: the old woman who visited Susana Giménez To tell him the sapphrays of his granddaughters. And it was that of the farewell of TV, in 2019. Suddenly the old woman’s character took off her wig, and Gasalla appeared, the person, to say goodbye. This is how it corresponds to say goodbye.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
